JOHN MELLENCAMP : ORPHEUS DESCENDING |
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Label : Republic Records Release Date : June 16, 2023 Length : 49:00 Review (AllMusic) : Orpheus Descending follows quickly on the heels of Strictly a One-Eyed Jack, the 2022 album that found John Mellencamp returning after a five-year silence. There, he invited Bruce Springsteen into the studio for a few songs, a nod to their shared past as heartland rockers. Here, the guest isn't as big a star, but the connection may run deeper. Much of Orpheus Descending features a returning Lisa Germano, the violinist who played with the rocker from 1987's The Lonesome Jubilee through 1998's John Mellencamp, tending to an adventurous solo career all the while. Germano's presence accentuates how Mellencamp is returning to the earthy, rangy roots rock of Big Daddy, a sound that seemed slightly out of time in the 1980s and now feels somewhat traditional; Mellencamp's blend of sinewy rhythms and burnished acoustics is recognizably his, yet it draws upon a sound that's now part of a shared past. It's a sound that's aged well, and Mellencamp has aged within it. His voice has been weathered to a nub; he now sounds eternal, even primal. His leathery croak helps give this lean, direct music a gravelly anchor that Germano offsets with her lithe, graceful support. Listening to their interplay gives Orpheus Descending an unexpected emotional kick that helps the record transcend the occasional overly literal lyric from Mellencamp, such as the lead single "The Eyes of Portland." Review (Louder Sound) : For a man who has spent a life railing at the musical barricades and who has a renowned self-destructive streak, at the age of 71 John Mellencamp is looking and sounding a damn sight better than he might have the right to. These days he might resemble someone who might wave a fence post around to scare you off his land for trespassing, but as a painter and songwriter Mellencamp has aged very well indeed. His vocal range and tone might now haunt the hinterlands often visited by Tom Waits and Bob Dylan, but the rasp from those hard-lived years adds a wonderful lustre to the songs and subjects he’s addressing and the things he’s chosen to write about now. The deft storytelling, enhanced by that elegant weariness, be it the social commentary of The Eyes Of Portland or the much better Land Of The So Called Free and the beautiful and broken down The Kindness Of Lovers. The latter two both carry the rueful weight of the years, something that was once kindness now long-since turned to neglect. Truth be told, Mellencamp appears to be on something of a songwriting hot streak, especially when he’s in a more contemplative mood; Understated Reverence, with its mournful violin and quiet reflections, might have appeared on Waits' Rain Dogs, while Lightning And Luck, a plaintive guitar part and a handful of memories and recollections, has its strength in simplicity, which is a welcome motif all record long. Review (Spill Magazine) : I am not sure that John Mellencamp has always received the credit and respect he deserves. He has a heavy body of work that has somehow not received the critical acclaim that is offered to other, such as Bruce Springsteen. This is a shame, as he has produced some incredible albums, certainly during the past two decades. However, this should and could change with this album, Orpheus Dancing. This is his 25th release and very much a homegrown affair, as it was recorded in his home studio and produced by Mellencamp. It is certainly very personal and important album to him, and it must be assumed that he thought that others would identify with this collection of songs. Orpheus Descending is a rocking, alternative country/folk album. Mellencamp has always been very keen on roots music and has always put his own spin on the genre. Slide guitar features predominantly throughout. His trademark guitar is also a central point, as is his mature and powerful vocals. At times the songs slide comfortably into blues (“The Kindness of Lovers”) and everything comes together. Orpheus Descending is full of great examples of his ability to write melodic, emotional music to accompany his strong lyrics. The album opens with “Hey God”, complete with searing guitars which give way to vocals and the chorus, “Hey God, if you’re still there, will you please come down?” Eventually Mellencamp admitting “we can’t take it no more”. It is a song about gun control and it is a powerful way to open. This is immediately followed by “The Eyes Of Portland”, an incredibly moving track about the homeless situation in North America. It is compassionate and almost pleading with more than a little anger. He puts his heart and soul into this. Things slow down with the achingly beautiful “Understated Reverence”. It is beautiful with sparse arrangements. It bears a slight resemblance to the Time Out Of Mind era of Bob Dylan, but it is still Mellencamp’s song. As with much of the album the lyrics are strong and thought-provoking. “The understated reverence,” sings Mellencamp, “is just another word for judgement day.” The album ends with “Backbone” which basically sums up the whole album in that he is going to persevere. Orpheus Descending addresses a lot of issues that have been around for a long time, and Mellencamp knows this. He is not reinventing a wheel or trying to write new protest songs, but he is writing and singing about issues of importance to him, and he hopes that are important to others as well. He may not hold out much hope for governments, but he does put some faith in the hope that people will force the changes. It is a strong album musically and lyrically, and Mellencamp has come up with one of his best albums in his stellar career. |